69 10 1599 https://glamportal.auctr.edu/files/original/a458f0348179bcd623170521fb15fb5a.jpg ba995a62c3e96321c9f71b23dbac566a Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource War...and its Aftermath On Friday, the 27th day of January, 1972, the war in Vietnam was formally brought to a close with the signing of a “cease fire” agreement in Paris. It was the longest war in American history having lasted something more than twelve years at a direct cost of more than $110 billion. It was also the most unpopular war, and the most controversial. Not many Americans were agreed upon what they were fighting for, or whether our goals had been realized when the armistice was signed. There was almost universal agreement however, that it was time, indeed long past time, to get our men out and go home. A disproportionate number of the men fighting in Southeast Asia were Black Americans. https://glamportal.auctr.edu/files/original/fdf469351b54040bf7f4edcb0d927689.jpg c2cd6c3f8bd24fab11359b08c08632b6 Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource They were the poor and jobless conscripts who fell the inevitable heirs to the uniforms rejected by the white middle class youth, who, if their traditional insulation of cast and class, education and profession proved insufficient to protect them from physical involvement in the war, could quit the country in protest to live in Canada or Sweden. The war was a difficult and shattering experience for most black soldiers. They could not “opt for Canada” as could educated the white youth of the American establishment. By-and-by all will be forgiven and they will come home again to jobs and families and positions. Bitter experience has taught Black Americans that what is “protest” for some may well be considered “treason” for some others. (It was only in 1972 that the Federal Government finally cleared 167 Black soldiers of the all-black First Battalion of the 25th Infantry who were dishonorably discharged by President Theodore Roosevelt for “protesting” their mistreatment in Brownsville, Texas 66 years earlier in 1906!) The burden of the war then fell upon https://glamportal.auctr.edu/files/original/45df9bac8125208df3d5cb9f0cbe2d0f.jpg 8e36fa4c68d89a9ed4df819d4be985be Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Blacks as a caste, the poor as a class, and its professional military. Many of the last two categories, ironically, come from the Southern United States making for improbably harmony and efficiency in the field. Inevitably as the war dragged on, racial incidents at American bases in Asia (and in occupied Europe) increased. At the front, Black casualties were disproportionately high, suggesting the possibility of bias in military assignments. There were votes in [?]ing Black and white sailors aboard American warships, and between the races at training camps in America and at Army containments[?] abroad. Off duty, Black soldiers and sailors frequented one section of town, whites another. Reflecting the growing sense https://glamportal.auctr.edu/files/original/1b170cf5ce42901c622d8f0137f5c8f6.jpg 439651015e3722eda71341f4466e1985 Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource of black ethnicity at home, Blacks in the military began to find new pride in their identity. They also demanded that recognition be given their traditional food, recreational and cosmetic preferences, instead of continuing the traditional assumption that what white soldiers preferred to eat, the music they enjoyed most, or the way they liked to cut their hair was necessarily good for, or acceptable to Blacks. By the war’s end, relationships between the races in the military services was seriously deteriorated, and a series of formal investigations had been called for. The return of the war veterans posed critical problems of adjustment. Jobs needed to be found. Rehabilitation to civilian life would not be easy or https://glamportal.auctr.edu/files/original/374e73af87146fb4c090b00d23cdac51.jpg 927afc6cfa36ce855b083c75d6b2afc2 Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource automatic. Many soldiers had been brutalized by combat, drugs, and racial experiences. There is a growing demand for an all “volunteer” army. The American establishment does not want its sons to ever again be faced with the choice of serving in a war like “Vietnam,” or expatriating themselves to avoid conscription. The expectation is that if the pay is attractive enough, under the established cadre of professional officers, the Black and the poor will be Hessians to the nation with little inconvenience to the rest of America. Should the possibility that employment and underemployment differentials between whites and blacks continue, the American army of the future may well be the largest “black” military force in the world. Text A resource consisting primarily of words for reading. Examples include books, letters, dissertations, poems, newspapers, articles, archives of mailing lists. Note that facsimiles or images of texts are still of the genre Text. Text Any textual data included in the document War...and its Aftermath On Friday, the 27th day of January, 1972, the war in Vietnam was formally brought to a close with the signing of a “cease fire” agreement in Paris. It was the longest war in American history having lasted something more than twelve years at a direct cost of more than $110 billion. It was also the most unpopular war, and the most controversial. Not many Americans were agreed upon what they were fighting for, or whether our goals had been realized when the armistice was signed. There was almost universal agreement however, that it was time, indeed long past time, to get our men out and go home. A disproportionate number of the men fighting in Southeast Asia were Black Americans. They were the poor and jobless conscripts who fell the inevitable heirs to the uniforms rejected by the white middle class youth, who, if their traditional insulation of cast and class, education and profession proved insufficient to protect them from physical involvement in the war, could quit the country in protest to live in Canada or Sweden. The war was a difficult and shattering experience for most black soldiers. They could not “opt for Canada” as could educated the white youth of the American establishment. By-and-by all will be forgiven and they will come home again to jobs and families and positions. Bitter experience has taught Black Americans that what is “protest” for some may well be considered “treason” for some others. (It was only in 1972 that the Federal Government finally cleared 167 Black soldiers of the all-black First Battalion of the 25th Infantry who were dishonorably discharged by President Theodore Roosevelt for “protesting” their mistreatment in Brownsville, Texas 66 years earlier in 1906!) The burden of the war then fell upon Blacks as a caste, the poor as a class, and its professional military. Many of the last two categories, ironically, come from the Southern United States making for improbably harmony and efficiency in the field. Inevitably as the war dragged on, racial incidents at American bases in Asia (and in occupied Europe) increased. At the front, Black casualties were disproportionately high, suggesting the possibility of bias in military assignments. There were votes in [?]ing Black and white sailors aboard American warships, and between the races at training camps in America and at Army containments[?] abroad. Off duty, Black soldiers and sailors frequented one section of town, whites another. Reflecting the growing sense of black ethnicity at home, Blacks in the military began to find new pride in their identity. They also demanded that recognition be given their traditional food, recreational and cosmetic preferences, instead of continuing the traditional assumption that what white soldiers preferred to eat, the music they enjoyed most, or the way they liked to cut their hair was necessarily good for, or acceptable to Blacks. By the war’s end, relationships between the races in the military services was seriously deteriorated, and a series of formal investigations had been called for. The return of the war veterans posed critical problems of adjustment. Jobs needed to be found. Rehabilitation to civilian life would not be easy or automatic. Many soldiers had been brutalized by combat, drugs, and racial experiences. There is a growing demand for an all “volunteer” army. The American establishment does not want its sons to ever again be faced with the choice of serving in a war like “Vietnam,” or expatriating themselves to avoid conscription. The expectation is that if the pay is attractive enough, under the established cadre of professional officers, the Black and the poor will be Hessians to the nation with little inconvenience to the rest of America. Should the possibility that employment and underemployment differentials between whites and blacks continue, the American army of the future may well be the largest “black” military force in the world. Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource "War...and its Aftermath" Creator An entity primarily responsible for making the resource Lincoln, C. Eric (Charles Eric), 1924-2000 Source A related resource from which the described resource is derived C. Eric Lincoln collection Date A point or period of time associated with an event in the lifecycle of the resource undated Contributor An entity responsible for making contributions to the resource Atlanta University Center Robert W. Woodruff Library Rights Information about rights held in and over the resource All images in this collection either are protected by copyright or are the property of the Robert W. Woodruff Library of the Atlanta University Center, Inc., and/or the copyright holder as appropriate. To order a reproduction or to inquire about permission to publish, please contact archives@auctr.edu with specific object file name. Format The file format, physical medium, or dimensions of the resource image/jpeg Language A language of the resource en Type The nature or genre of the resource Manuscripts (documents) Identifier An unambiguous reference to the resource within a given context auc.047.0001_001.doc.b140f14 auc.047.0001_002.doc.b140f14 auc.047.0001_003.doc.b140f14 auc.047.0001_004.doc.b140f14 auc.047.0001_005.doc.b140f14 https://glamportal.auctr.edu/files/original/8a36ede12b714ef8828a76c281b3fe00.jpg c24d1364d485cd3bbbb628761ba812d7 Still Image A static visual representation. Examples include paintings, drawings, graphic designs, plans and maps. Recommended best practice is to assign the type Text to images of textual materials. Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Identifier An unambiguous reference to the resource within a given context cauam.1966.002 Title A name given to the resource Easy for One, Hard for Two Format The file format, physical medium, or dimensions of the resource image/jpeg Date A point or period of time associated with an event in the lifecycle of the resource 1965 Rights Information about rights held in and over the resource All images in this collection either are protected by copyright or are the property of the Clark Atlanta University Art Museum, and/or the copyright holder as appropriate. To order a reproduction or to inquire about permission to publish, please contact cauArtMuseum@gmail.com with specific object file name. Type The nature or genre of the resource still image Creator An entity primarily responsible for making the resource Linton, Henri Source A related resource from which the described resource is derived Clark Atlanta University Art Museum Extent The size or duration of the resource. 33.625 x 80.375 inches Contributor An entity responsible for making contributions to the resource Atlanta University Center Robert W. Woodruff Library Medium The material or physical carrier of the resource. Oil on canvas https://glamportal.auctr.edu/files/original/885f6023fea277f9df0fdfc4e223cfb3.jpg 936a7c2b87317bc7cc13a95bc590072e Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource SAVC 243 African American Art Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Eglise Saint Joseph Description An account of the resource Eglise Saint Joseph Date 1954 Material oil on canvas Size 58.7 x 71.1 cm Collection Smithsonian American Art Museum Creator An entity primarily responsible for making the resource Lois Mailou Jones Source A related resource from which the described resource is derived https://americanart.si.edu/artwork/eglise-saint-joseph-76333 Publisher An entity responsible for making the resource available Smithsonian American Art Museum, Bequest of the artist Date A point or period of time associated with an event in the lifecycle of the resource 1954 Language A language of the resource English Medium The material or physical carrier of the resource. oil on canvas https://glamportal.auctr.edu/files/original/ebab5ae7c10efd9a3caac7ce756e425f.jpg 31730176c43bf9bdf54fb3038502f553 Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource SAVC 243 African American Art Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Two African Hairstyles Description An account of the resource Two African Hairstyles Date 1982 Material Acrylic on canvas Size 36 x 36 inches Collection University of California San Diego, San Diego, California Creator An entity primarily responsible for making the resource Lois Mailou Jones Source A related resource from which the described resource is derived https://teamoneart276.wordpress.com/2013/04/18/lois-mailou-jones/ Publisher An entity responsible for making the resource available University of California San Diego, San Diego, California. Date A point or period of time associated with an event in the lifecycle of the resource 1982 Language A language of the resource English Medium The material or physical carrier of the resource. Acrylic on canvas https://glamportal.auctr.edu/files/original/8b6d92c7285c178620fbbca75d444a12.jpg 6dfc3de04b4beb56c0bc2e478c0f103c Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource SAVC 243 African American Art Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Les Fetiches Description An account of the resource Les Fetiches Date 1938 Material oil on linen Size (64.7 x 54.0 cm) Collection Smithsonian American Art Museum Creator An entity primarily responsible for making the resource Lois Mailou Jones Source A related resource from which the described resource is derived https://americanart.si.edu/artwork/les-fetiches-31947 Date A point or period of time associated with an event in the lifecycle of the resource 1938 Language A language of the resource English Medium The material or physical carrier of the resource. oil on linen https://glamportal.auctr.edu/files/original/fe561eb07184b45395c30fa3583d56f2.jpg 48ab473daab290affa2ec667c9e3bd47 Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource SAVC 243 African American Art Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Glyphs Description An account of the resource Glyphs Date 1985 Material acrylic on canvas Size 61 x 91.4 cm Collection Museum of Fine Arts Creator An entity primarily responsible for making the resource Lois Mailou Jones Source A related resource from which the described resource is derived https://collections.mfa.org/objects/490944/glyphs?ctx=547843f2-e953-4d96-a92c-9cd35f49457e&idx=0 Date A point or period of time associated with an event in the lifecycle of the resource 1985 Format The file format, physical medium, or dimensions of the resource Overall: 61 x 91.4 cm (24 x 36 in.) Framed: 73.7 x 104.1 cm (29 x 41 in.) Language A language of the resource English Medium The material or physical carrier of the resource. Acrylic on canvas https://glamportal.auctr.edu/files/original/044634e6d55a3599a9c5c263e997ead3.jpg 4edf8fbbb3d51908c1f3bcb14f6bfa5a Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource SAVC 243 African American Art Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Initiation, Liberia Description An account of the resource Initiation, Liberia Date 1983 Material acrylic on canvas Size (89.6 x 59.1 cm) Collection Smithsonian American Art Museum Creator An entity primarily responsible for making the resource Lois Mailou Jones Source A related resource from which the described resource is derived https://americanart.si.edu/artwork/initiation-liberia-76336 Date A point or period of time associated with an event in the lifecycle of the resource 1983 Format The file format, physical medium, or dimensions of the resource 35 1⁄4 x 23 1⁄4 in. (89.6 x 59.1 cm) Language A language of the resource English Medium The material or physical carrier of the resource. acrylic on canvas https://glamportal.auctr.edu/files/original/764dd2f8f04a4a6ce03d2745b52bdfd9.jpg 4e2d28f78c89d6f05914ae6466660a74 Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource SAVC 243 African American Art Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Ubi Girl from Tai Region Description An account of the resource Ubi Girl from Tai Region Date 1972 Material Acrylic on canvas Size (43 3/4 x 60 in.) Collection Contemporary Art, Americas Creator An entity primarily responsible for making the resource Lois Mailou Jones Source A related resource from which the described resource is derived https://collections.mfa.org/objects/34200/ubi-girl-from-tai-region?ctx=ab23a351-69be-42ab-80d3-39b4dc6de75a&idx=0 Date A point or period of time associated with an event in the lifecycle of the resource 1972 Format The file format, physical medium, or dimensions of the resource 111.1 x 152.4 cm (43 3/4 x 60 in.) Language A language of the resource English Medium The material or physical carrier of the resource. Acrylic on canvas https://glamportal.auctr.edu/files/original/850169de19f888762317dfb947273ca1.jpg d420dc530e8595bdc4c517b6845010a6 Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource SAVC 243 African American Art Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Ode to Kinshasa Description An account of the resource Ode to Kinshasa Date 1972 Material mix media on canvas Size 48 x 36 in Collection National Museum of Women in A Creator An entity primarily responsible for making the resource Lois Mailou Jones Source A related resource from which the described resource is derived https://nmwa.org/art/collection/ode-kinshasa/ Date A point or period of time associated with an event in the lifecycle of the resource 1972 Format The file format, physical medium, or dimensions of the resource 48 x 36 in. Language A language of the resource English Medium The material or physical carrier of the resource. Mixed media on canvas https://glamportal.auctr.edu/files/original/104c966b1333b6dfc5da347d4bf6dfb0.jpg 58c5a0865dd5790db759c80923d29c40 Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Spelman ECP in Art History Project Description An account of the resource SAVC 102: Ways of Seeing: Art History, Curating, and Museums is an Early College Program in Art History and Curatorial Studies. Ways of Seeing: Art History, Curating and Museums examines selected examples of African American and Western art. Via an online immersive course, students learn the role of curators, are introduced to museums, and engage with the High Museum of Art, art and archival collections in the Atlanta University Center and other significant collections. Diversity of the museum and its staff as well as its changing audiences is explored. Students prepare to be art historians and/or curators by completing exhibition projects drawn from the High Museum of Art’s collection. The course is taught through a hybrid of synchronous and asynchronous delivery. Artworks in this collection are selected from Atlanta University Center Robert W. Woodruff Library, Clark Atlanta University Art Museum, Spelman College Museum of Art, ad the High Museum of Art, . Still Image A static visual representation. Examples include paintings, drawings, graphic designs, plans and maps. Recommended best practice is to assign the type Text to images of textual materials. Physical Dimensions The actual physical size of the original image 32 x 31 x 16 1/2 inches Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Finally Getting Wings for the Forty-First Floor Date A point or period of time associated with an event in the lifecycle of the resource 1996 Medium The material or physical carrier of the resource. Metal, plastic, and cloth Creator An entity primarily responsible for making the resource Lonnie Holley, American, born 1950 Source A related resource from which the described resource is derived High Museum of Art Rights Information about rights held in and over the resource All of the content of this Website — including information, data, text, graphics, logos, button icons, images, pictures, audio clips, and software (the “Content”) — is protected by United States copyright laws. The Content of http://www.high.org is copyrighted as a collective work under the United States copyright laws. Except as granted in the limited license below, any other use of this Content, including modification, transmission, presentation, distribution, or republication, is prohibited without the prior written consent of the High Museum of Art, a division of the Robert W. Woodruff Arts Center, Inc., Atlanta, Georgia (the “Museum”). The copyright of the Content and other proprietary rights are held by the Museum or other entities and individuals. Identifier An unambiguous reference to the resource within a given context 2015.185 Provenance A statement of any changes in ownership and custody of the resource since its creation that are significant for its authenticity, integrity, and interpretation. The statement may include a description of any changes successive custodians made to the resource. Gift of William Arnett in memory of Lenore Gold (c) Lonnie Holley/Artists Rights Society (ARS), New York